** 2021 Stock ** De Santis Shabara is the unexpectable encounter of two different experiences in life and music: Apulia-born percussionist, producer and instruments creator Daniele De Santis (GRÜN, Dromoscope) and Indonesian performer and vocalist Rully Shabara (Senyawa, ZOO). As an imaginary dialogue spoken in an ancient tongue from the two opposite corners of the world, the music of the duo combines different tactile timbres and vibrant harmonics of percussion instruments with the resonant tissues of human body excited by the movements of the breath. The result is an unpredictable articulation of these essential elements into spontaneous performances with an almost metaphysical yet visceral feeling. As sky leans on earth, the ethereal and haunting vibrations of the voice flow on and through the polyrhythmical and primal beats of drums, leaving also some space for more deep and meditative moments.
Adding a tridimensional layer to the intrinsic dual polarity of the record, italian audio/visual artist Lorem takes the archaic sound of the original tracks and morphs it into something alien and ambiguous, providing two neural network reworks and a stunning AI-generated short-movie. While the voice is disembodied in a time-streched ghost, the drumbeat is transfigured in an electronically deconstructed pulse. In a kind of Twin Peaksian fairy tale, the video serves as a narrative counterpart to the sound and brings the viewer in a strange encounter with a magical giant, a shapeshifting entity capable of altering the course of nature. The boundaries between subject and object are dissolved, while reality unveils itself as a contradictory dream impressed on a malfunctioning video-tape.
Born as a collaboration between experimental illustrator/tattoo artist Primitivo and graphic designer Nicola Tirabasso, the artwork aims to reflect on a different level the paradoxical nature of the release. A multi-layered take on the shadow-zones of a dual signification system, in which the meeting of hand-drawn asemic motifs and AI-generated images, analog and digital techniques, blurs, while questioning, the alleged separation between “natural” and “artificial”.